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Advanced Jazz Theory Techniques

1) The document provides a summary of jazz guitar theory concepts as taught by Scott Henderson, outlining chord tones, scales, arpeggios, and licks for various chord types including C major 7, C minor 7, C minor 7 flat 5, dominant 7th chords, and two-five-one patterns. 2) Key information includes scales and arpeggios to play over each chord type, such as C Lydian for C major 7, Eb melodic minor for C minor 7, and C Locrian for C minor 7 flat 5. 3) Recommendations are also given for pentatonic scales that can be applied to chord progressions like Dm7

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Fabián Reinoso
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1K views2 pages

Advanced Jazz Theory Techniques

1) The document provides a summary of jazz guitar theory concepts as taught by Scott Henderson, outlining chord tones, scales, arpeggios, and licks for various chord types including C major 7, C minor 7, C minor 7 flat 5, dominant 7th chords, and two-five-one patterns. 2) Key information includes scales and arpeggios to play over each chord type, such as C Lydian for C major 7, Eb melodic minor for C minor 7, and C Locrian for C minor 7 flat 5. 3) Recommendations are also given for pentatonic scales that can be applied to chord progressions like Dm7

Uploaded by

Fabián Reinoso
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Scott Henderson Jazz Theory Summary

C Maj 7

1) C, F, G Major Triads (1, 4, 5)


2) A min Pentatonic (up a 6th). D min Pentatonic (up a whole step), E min Pentatonic (up a 3rd)
3) C Lydian. (G major) (A little outside)
4) G maj 7 arpeggio (Lydian feel)
(Here, he shows all possible arpeggios on Cmaj7, and you must find out what it is because I can’t draw it
here.)
5) Gbm7b5 arpeggio down, Gmaj7 arpeggio up (go up a 5b, m7b5)
6) D Maj7 arpeggio with C. (Major triad of the 2nd)
7) B min Pentatonic (down a half step) (#11 feel) (result=A, D, E, B Pentatonics)
8) (Outside 1) melodic minor down to minor 3rd (which is A melodic minor for C.)
9) Go up a major 3rd.(E triad)
10) (Outside 2-further out) Major scale up a whole step (d major) (he plays this cool) (like everything
else) (I think this is his favourite)
11) Pentatonic of 5b (Gb minor pentatonic for C maj 7)

Cmin 7

1) Maj 7 arpeggio up a minor 3rd. (Eb Maj 7 for C)


2) m7b5 arpeggio down a minor 3rd (cool) (a min7b5) (again, you have to find out, i cant draw)
3) 3b, 4th, 7b triads (Eb, F, Bb)
4) C min pentatonic (his favourite) D min pentatonic (up a whole step), G minor pent.(up a 5th)(he says
super useful)
5) C melodic minor
6) 1 3b 5 7 9 (Cm maj7 arpeggio)
7) G Maj triad
8) Go up a m3rd and play melodic minor.(Eb for C)
9) C diminished whole-half

Cmin7b5

1) Locrian (Major scale of a half step) (C Locrian=Db Maj scale)


2) 1 3b 5b 7b Arpeggio (min7 b5)
3) Melodic minor up a minor 3rd (Eb) (Super Locrian)
4) E min maj7 (1 3b 5 7natural)
5) Bb triad (down a whole step)
6) Pentatonic up a minor 3rd (Ebmin)
7) F minor pentatonic (up a 4th)
8) Triads of 5b, 5# (Cb, C#)

Dom 7th unaltered (C9)

1) C Mixolidio (F major)
2) Up a major 3rd and play m7b5 Arpeggio
3) 6th pentatonic (Am)
4) Melodic minor up a 5th (G Mel. Minor)
5) G min maj 9 arpeggio
6) m7b5 arpeggio of 5b.(Gbm7b5)
7) 5b, 7b, 9 triads (Gb, Bb, D)

Dominant 7th altered (natural13, or 5#, b13)

-----C7 alt (C13b9)

1) Start with a half step dim. (Db diminished)


2) A, B, Eb, Gb triads (for C)
3) Melodic minor down a whole step (Bb Mel. min)

C7 alt (C7#5#9)

1) Melodic minor up a half step (Db melodic minor)


2) Down a whole step m7b5 (Bbm7b5 arpeggio)
3) Augmented triads 1, 3, 5# (C, E, G#)
4) Pentatonics (all pentatonics I said are minor pentatonics) 1, 3b, 4,7b pent. (C, Eb , F , Bb)

Two, Five, One patterns

Dm-G7 ------ Cmaj7 pattern


1) For Dm7----play Amin pentatonic (5th), for G7 play Bb min pentatonic (up a minor 3rd) and, for Cmaj7
play B min pentatonic

2) (the coolest, thanks scotty) for Dm....play e min pentatonic, for g7 play F min pentatonic and for
Cmaj7 play E min pentatonic again.

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